D3VDorsal Third Ventricle
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References in periodicals archive ?
Edgworth willingly agrees and orders Mooncalf to "fetch some Ale, and Tabacco" (D3v; 2.4.1-2).
time" (CHARS SEXT 13) 85 "man in the Moone" (D3v, E4) "world i'th' Moone" (DM Cf.
the rest" (CHARS FTMAN 8) "'bove merrit" (WD 1.2.16, 17) assure (and assurance (B4v) assurance (twice) A word in most related words) assure (D3, assure (16 times) of its forms twice, D3v) assured (5 times) favored by assured (B3v, assures (twice) both SP (12 B4v, D2, D3, assuring (once) times) and F3, H2) Webster (26 assures (G2v) times).
Expressions of contempt for cosmetics and vanity (B4, F2, Fv), for tobacco (B4, Fv), for female garrulousness and gossip (D, D2v, F, Fv, F2, F3v, F4), for pedantry and too much study (C2v, F4, Hv), for ignorance and stupidity (B3, D, D3, D3v, F4v), for court values (Ev, H), and for pretentiousness of style (B2, Hv) can all be paralleled in Webster.
(D3v) Brewer's tale demonstrates the prevalent use of coal and soot to recreate blackness; cheaply and easily accessible even to drunken pranksters not reported as having any connection to theatres and their transformative techniques, coal and soot were easy ways to represent blackness on the early modern stage.
In 2.7 Portia consistently uses the plural form, first at the beginning of the scene and then at the end: "Goe, draw aside the curtaines and discouer / the seuerall caskets to this noble Prince" (Q1, D2v; 2.7.1-2); "A gentle riddance, draw the curtaines, go" (D3v; 2.7.78).
In Thomas Middleton and William Rowley's The Changeling (1622), 3.1 De Flores hangs up his and Alonzo's "weapons" (presumably swords), saying "Here are hooks my Lord, to hang such things on purpose" (Q1, D3v).
(82) Thomas Nash, Pierce Pennilesse (1592), D3v. Cf.
When Shift says "So the doores are open, now come and follow after me" (D3v), the stage direction for Clamydes's action reads "Enter out" (D3v).
When a drawer enters and announces Pistol's arrival, it becomes clear that the scene is located upstairs: 'Sir, Antient pistol's belowe, and would speake with you' (Q1, D3v; 2.4.69-70).
(34) Samuel Rowlands, A Crew of Kind Gossips, All Met to be Merrie: Complayning of their Husbands, with their Husbands Answeres in their Owne Defence (1613), EEBO, D3v, B2r.
For instance, the regularized entries and exits in Mariam, even though they are marked as editorial interventions, conceal the shift into a distinctly theatrical mode of representation partway through the play: we have elaborated entries, designated mid-scene exits, and an unprecedented indicative direction in 'They fight' at D3v. Minor as they are, these elements of visual design agree with the general sense among critics that Cary s play is more stage-conscious than other closet dramas, certainly more so than Mary Sidney's Antonie, which employs classical conventions with perfect consistency.